By K. Andersen-Wyman
Andersen-Wyman's booklet undoes so much scholarly makes use of and understandings of De amore by way of Andreas Capellanus. via providing a analyzing promoted by means of the textual content itself, Andersen-Wyman indicates how Andreas undermines the narrative foundations of sacred and secular associations and renders their strength absurd. Her publication deals the simplest clarification but for why Andreas's used to be one among basically books condemned by way of Bishop Tempier in 1276: the instruments Andreas deals his readers, in addition to what Andreas indicates approximately his personal wish and what might be where of ladies in society, can make his publication harmful in nearly any period.
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Additional info for Andreas Capellanus on Love?: Desire, Seduction, and Subversion in a Twelfth-Century Latin Text (Studies in Arthurian and Courtly Cultures)
All three were known for their theories and practice of exegesis, as well as for how they handled their desire. The first section, “Author/ity,” begins by discussing Abelard’s relationship with Bernard, so that readers not deeply familiar with the twelfth century can get a glimpse of the debates related to desire, the conscription of which is the institution Andreas’s text is most keen to subvert. Although it has clear resonances with Andreas’s text, Abelard’s Sic et non is only briefly mentioned, because among the other intertexts it is the more commonly known and addressed.
Andreas and Ruiz utilize the framework of courtly love and the specific courtly language in order to embark on a much more ambitious enterprise, that is, the analysis of human language, communication, and the multiple functions of discourse. (341–342) I agree. Classen goes on to outline, much as I have done, why seeing the text as being about courtly love has failed. ” But, once again, I do not think Andreas’s enterprise stops there. 63 This is a wonderful study and does not conflict with my own, nor does it go as far.
I also base my approach to Andreas’s text upon the ideas of relevant critical theorists of the twentieth century. Among them, my way of reading has been most influenced by Mikhail Bakhtin’s theory of “registers,” analogous to symphonic music, voiced in a given discourse. This seems to be a more complete rendition, or at least another version, of the kind of approach to texts begun by medieval theories about the four levels of interpretation. There are also some curiously exciting resonances to be heard with respect to Andreas’s text when one considers not only the particularly complicated voicing of it but also that its method of resolution, like that of contrapuntal polyphony, is based upon multifold contradiction.
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